This thesis will outline a theory of formal function and phrase structure in contemporary music, which can be used as both an analytical tool and applied to create new works. The theory builds on the work of two contemporary theorists: Christopher Hasty’s concept of durational projections and William Caplin’s theories of formal function and tight-knit vs. loose formal organization. Durational projections are made perceptible through an emphasis on secondary parameters such as playing style, articulation, and timbre. Tight-knit sections feature clear projections that are created by regularly switching between contrasting motives, usually in the form of a two-part basic idea. These projections help shape entire sections into presentation, continuation and cadential phrases, giving them a sense of coherence and structure independent of traditional formal types. Sections with looser organization lack the clear projections, motivic uniformity and cogent harmonic motion that more tight-knit passages display.
The phrase structure of three late solo works by Pierre Boulez are analyzed: Anthèmes I for violin (1991-1992) and two piano works, Incises (2001) and une page d’éphéméride (2005). The ideas put forth in this paper arose out of an analysis of these works and consequently had a strong influence on my own compositions, particularly Lucretia Overture for orchestra and 4 Impromptus for flute, soprano saxophone and piano, which are also analyzed in detail. Several additional compositional techniques can be discerned in these two works, including the use of melodic threads to control the harmonic rhythm; sections with multiple musical layers, each with a distinct phrase structure; and loosening the formal organization of recurring material. Finally, the composition of several other earlier works gave rise to the techniques used in these two works and are succinctly discussed in the final section.